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S.&C. STEPHENSON
SPECIMEN & SALE CATALOGUE

1796-1797

S. & C. STEPHEN SON 0=^1

A SPECIMEN OF PRINTING TYPES
& VARIOUS ORNAMENTS

1796

reproduced, together with the

SALE CATALOGUE OF
THE BRITISH LETTER-FOUNDRY

1797

with an introduction by
JAMES MOSLEY

LONDON

PRINTING HISTORICAL
SOCIETY

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3j.r
. 6 ¥3

S7?7'/

Published by

The Printing Historical Society
St Bride Institute
Bride Lane, London EC4
© 1990

ISBN 900003 10 3
Publication No. 13
Set in ‘Monotype' Bell by
Gloucester Typesetting Services
Printed and bound in Great Britain
by Smith Settle, Otley

INTRODUCTION

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The specimen reproduced here is the last that was issued by
the British Foundry. It displays all the types cut for it,
and there is an additional specimen of ‘cast ornaments' and
‘engravings on wood' offered for sale, which reflect the grow-
ing taste for this kind of stock illustration. The copy of the
specimen from which this facsimile has been made includes
the sale catalogue for the foundry, which was announced for
27 November 1797, and this has been reprinted in the present
publication.

The British Letter-Foundry was the creation of John Bell,
an aggressively enterprising independent publisher who was
one of the first to take advantage of the decision in the legal
case of Donaldson v. Beckett in 1774, by which the concept
of perpetual copyright was ended in Great Britain, and the
work of many dramatists and poets effectively entered the
public domain. Bell's edition of the Poets of Great Britain
complete from Chaucer to Churchill in 109 volumes and his
British Theatre in 21 volumes both began to appear in 1776.
The established London booksellers responded to this inva-
sion, as they saw it, of their literary property, with their own
edition of The Works of the English Poets , to which Samuel
Johnson was invited to write the biographical matter, and a
committee was set up to commission engravings and to give
directions about the paper and printing.

The simultaneous appearance on the market of several
editions of popular authors was something new in the British
book trade, and it undoubtedly stimulated an interest in the
refinements in the technique and materials of printing and
illustration which were developed in the late eighteenth cen-
tury. The use of wove paper, hot-pressed, and the greater
attention given to the construction of the printing press

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enhanced the quality of the impression, while the cult of a
simpler, more open page made the appearance of the type
itself a more prominent feature of an edition, and one to
which its promoters tended increasingly to draw attention.

John Bell, who included the import of French books among
his enterprises, was aware of the improvements in type,
paper and presswork that had been made in France. These
were due above all to Francois- Ambroise Didot, for whom,
beginning in 1781, types were made to his own designs, first
of all by a professional punchcutter and then by his younger
son, Firmin Didot. Bell must have had contact of some kind
with F.-A. Didot, for small quantities of one of the son's
italics appear in some volumes of his British Theatre in the
mid- 1780s, and there can be little doubt that his abandoning
of the long s was due to the precedent set by the elder
Didot. 1

Although the name of Bell's British Letter-Foundry is
evidently intended to echo the patriotic tones of his ‘British
Library’, the type itself, as Stanley Morison noted, derived
many of the details which enable historians to claim it as the
first English ‘modem face’ to the new Didot types: hori-
zontal serifs to the vertical strokes of the lower case, for
example, and the curved tail but flat foot to the tail of R. But
the serifs, though sharply cut, are not the severe, unbracketed
strokes of the French type. For this, the punchcutter, Richard
Austin, whose name appears in all the specimens of the
British Letter-Foundry, may be partly responsible. Austin,
a trade engraver with a variety of skills, was later to make
types for other patrons, including the ‘Porson’ Greek for the
University Printer at Cambridge, Richard Watts, in 1807,
and according to T. C. Hansard, most of the ‘modern’ founts
of the Wilson and Miller foundries in Glasgow and Edin-
burgh, before setting up his own ‘Imperial Letter Foundry’
in London. In 1819 he issued a specimen with a preface in
which he criticised the excessive delicacy of line that had
been required from him by the typefounders for whom he

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had worked. The type made for Bell was, as Morison recog-
nised, a fusion of the new French style of roman with a flow-
ing, cursive italic in the manner established by Baskerville,
a feature to which British typefounders would remain faith-
ful. The degree to which the foundry was an extension of his
printing and publishing enterprise is nicely conveyed by an
advertisement in his newspaper The World for 9 June 1787,
advertising a projected edition of Arthur Murphy’s The Way
to Keep Him :

J. Bell flatters himself that he will be able to render this work
the most perfect and in every respect the most beautiful book,
that was ever printed in any country . . . He is at present casting
a new type for the purpose upon new principles. 2

Further specimens were issued by Bell's foundry in 1788
showing Paragon and Pica types, and in 1789 Bell took into
partnership Simon Stephenson, to whom he ceded the foundry
in December, noting in his newspaper The Oracle that ‘my
other extensive concerns engross so much time and atten-
tion, as to require me increasingly to relinquish the Foundry
Business’. 3 Under the direction of Simon Stephenson, about
whom little is known, the foundry issued a handsome broad-
side dated 1790, which has only recently come to light, and
an octavo specimen in 1791 . The foundry's two last specimen
books were issued in 1796. For some reason, the first of
these was incomplete, being issued with the title First part
of a specimen of printing types and a note that ‘the specimen
of English, Pica and Minion are at press'. The second, com-
plete specimen shows the fullest extent of the foundry. It too
bears the date 1796 on the title page, but the preliminary
advertisement is dated February 1797. It is now reproduced
in facsimile from the copy formerly in the possession of
William Blades ( 1824-90) and now in the St Bride Printing
Library.

In November 1797 the British Foundry was put up for sale.
The reasons for the sale are not known, but it is possible

that the foundry paid the penalty for having produced type
that appeared advanced in 1788 but was already old fashioned
less than a decade later. In the later 1790s, even the conser-
vative Caslon foundry in Chiswell Street, had been persuaded
to introduced the excellent new types cut for it by Isaac
Drury . 4 It is possible that the owners of the British Foundry
were unwilling or unable to undertake the further invest-
ment that enabled their rivals to survive and expand in the
new century.

It is not certain that the public auction took place, but the
materials of the foundry were certainly disposed of and even-
tually passed into the possession of the Fann Street Foundry,
possibly through Fry & Steele, who had included the English
Two-lines Ornamented titling capitals in the specimen
that they supplied to Stower for publication in his Printer’s
Grammar ( 1808), 5 or possibly, as Nicolas Barker suggests , 6
from the stock of Austin’s own foundry, which eventually
absorbed into the Fann Street Foundry . 7 Some types from
this casting found their way to Cambridge, Massachusetts,
where they were used by H. O. Houghton of the Riverside
Press in 1 864. The life of this fount was extended by making
electrotype matrices, and early in the twentieth century, the
use made of this pardonable piracy, which had been renamed
Brimmer, by Bruce Rogers and Daniel Berkeley Updike
caught the attention of Stanley Morison. Morison, who was
already interested in Bell, identified its source by locating a
copy of Bell's first specimen . 8 Types were cast from the orig-
inal matrices by Stephenson, Blake & Co., who had acquired
the materials of the Fann Street Foundry in 1905, and these
were used for the composition of Morison 's substantial
monograph John Bell , published in 1930. At Morison’s
prompting, the Monotype Corporation cut their ‘Bell’ type
(Series 341 ) in 1931.

The British Letter-Foundry was not a large concern by
comparison with its chief commercial rivals, but in addition
to its importance as an innovator in the field of type design

[ 8 ]

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it has a special interest for the historian of typefounding, for
its sale catalogue provides one of the rare detailed inven-
tories of the equipment of an English foundry during the era
before mechanization. 9 The function of much of the equip-
ment - with a few significant exceptions - can readily be
understood by reading the detailed account of typefounding
given over a century earlier by Joseph Moxon. The value of
this document lies in its precise detail, specifying exactly
what was used, and in what quantity, and where it was
located. The main foundry was, as one would expect, on the
lower floor. 10 Its eight furnaces and four dressing-beds
would be employed in the production of the text sizes of
type, flowers, spaces and quadrats. Fifty ladles are listed,
and there was provision for the production of more as they
were needed by means of the ‘Eleven Ladle-Beds, and
Punches, to form Ladles’, a useful illustration of Moxon's
remark that ‘the Caster has many at Hand, and many of
several sizes that he may successively chuse one to fit the
several sizes of Letters he has to Cast; as well in Bodies as
in Thickness’.

The upper casting-room appears to have served a different
function, and a relatively new one in English foundries. Big
types had been cast in sand, using wooden patterns, for some
centuries, 11 but there is evidence that English typefounders
only began to make big letters for posters and other commer-
cial printing towards 1770, when Thomas Cottrell made his
‘Proscription or Posting letter of great bulk and dimension'
and William Caslon II cast his ‘Patagonian’ or ‘Proscription
letters to the measure of 20 lines of pic[Y]. supported by
arches’. 12 The British Letter-Foundry's big poster letters
from 16-line Pica downwards first appear in its specimen
of 1791, and these may well have been made with the
‘Moulding-Trough, for sand casting, with Four Pair of
Flasks’ listed as lot 6. 13

The wording of Lot 97, ‘All the Punches and Matrices of
the Cast Metal Ornaments . . . together with the whole

[9D

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Apparatus, consisting of a Fly-press and various other Imple-
ments, and the Instruction in the Art of Making them', for
all its secrecy (‘the Purchaser of this Lot will not be per-
mitted to examine any Part thereof, until the Purchase
money is paid') is usefully informative. William Caslon III
was the first English founder to issue a specimen of ‘cast
metal ornaments’, in 1786 and the patterns for these, now
with Stephenson, Blake & Co., Sheffield, are cut on brass.
The common method of getting a good duplicate impression
from a wood-engraving, a hazardous operation which ap-
pears to have been used until the advent of electrotyping in
the 1840s displaced it, was known in English as ‘dabbing’.
The original was struck sharply into a tray of typemetal that
was on the point of cooling. The impression in the metal, if
successful, could be used in its turn as a matrix to ‘dab’ a
relief, which was mounted on wood to bring it to type
height . 14 An alternative, and perhaps more predictable
means of making the matrix was to drive the original into a
block of lead, and it sounds as if this was the principle of the
secret process used in the British Foundry. To drive a box-
wood block of any size into metal, however soft, would risk
crushing its detail, so that the ‘Punches' in this case may well
have been cut in brass, but the ‘cast ornaments’ were prob-
ably made by ‘dabbing’ from the matrices.

Lastly, there are the ‘engravings on wood’ that complete
the specimen. The subjects of these are derivative. Blocks 6,
7, 8, 9, 20, 21 and 22 are from originals by John Bewick,
while 24, 26 and 27 are after tailpieces in Thomas Bewick’s
Quadrupeds ( 1790). 15 These were presumably engraved to
order, by one of the ‘eminent engravers on Wood and Brass’
that were claimed in the preliminary advertisement to be
part of the establishment of the foundry. Richard Austin
must be included among these, although it is difficult to
believe that many of the engravings shown here are his
work. 16 Their prices are roughly comparable to those of the
contemporary ‘brass card borders’ made for sale by C. and

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A. Paas, which were apparently also made to order . 17
Although considerably more expensive than the "cast orna-
ments’, if well made, wood blocks would also be a great deal
more durable.

NOTES

1 Bell was popularly supposed in England to have been the first printer to
abandon the long s. He omitted it from his newspaper The fVorld, which
was first published on 1 January 1787, in the text of his type specimen of
1788 (although it was cut for his types and is shown in their synopses), and
in his edition of Shakespeare, also in 1788, where he explained that his
objects were to give the lines ‘the effect of being more open’ and to avoid
confusion of long s with f.

2 Stanley Morison, John Bell (London, 1930), p.22.

3 Morison, John Bell , p. 13.

4 Some specimen leaves of these new types from the Chiswell Street foundry
are bound in a copy of the foundry’s specimen book of 1785 in the Rare Book
Collection of the New York Public Library. The dated examples are Eliz.
Caslon' s new Double Pica. 1796. and Eliz. Caslon’s new Pica. 1799. But the
original Caslon types were apparently still being supplied: the Reference
Library, Birmingham, has a copy of the 1785 specimen with a cancel title
page dated 1800. See J. Mosley, British type specimens before 1831: a hand-
list (Oxford, 1984), nos. 59, 60.

5 Remarkably close copies of this type were made for the founders Vincent
Figgins, London and Alexander Wilson, Glasgow, and a rather less faith-
fully adaptation was made by Robert Thorne. It was revived from Austin’s
original matrices by Stephenson, Blake & Co. in the 1930s under the name
Fry’s Ornamented.

6 Introduction to the Garland Publishing Inc. reprint of Morison, John Bell
(New York, 1981), p.ix.

7 Not long after the revival of the Caslon ‘old-face’ types, when other found-
ries were examining their stock to see what material they might have to
offer by way of ‘old-faces’, five sizes of the roman types were illustrated
under the heading 'R. Besley and Co.’s Old-face Romans’ in an undated
specimen book of the Fann Street Foundry. Fann Street Foundry, A general
specimen of printing types (London: Robert Besley & Co.). The price list is
of 1854, but medals for the 1862 Exhibition are illustrated at the end.
St Bride Printing Library 2247.

• Biblioth&que nationale, MS. fr. 22189, ff. 81-7. Another copy is in the
library of the Soane Museum, London.

9 A short list of the equipment of the foundry of the Oxford University Press
was drawn up in 1690 (Morison, John Fell (1967), p.228) and printed in
its specimens of 1693 and 1695. An inventory of the Grover foundry in
London, drawn up in about 1725, located and printed by Michael Treadwell
( ‘The Grover typefoundry’, Journal of the Printing Historical Society, no. 15
(1980/81), pp. 49-52), lists some equipment but is principally concerned
with the stock of punches and matrices.

10 In the specimen of 1789 the address of Bell & Stephenson’s foundry was ‘in
the Savoy’, that is, close to Bell’s British Library in the Strand. The speci-
mens issued under its management by S. and C. Stephenson, including the
present one, give the address of the foundry as ‘Bream’s Buildings, Chancery'
Lane’.

11 ‘The casting of large types in sand’, in Moxon, Mechanick exercises, ed.
Davis and Carter, 2nd ed. ( 1962), p.S71.

12 E. Rowe Mores, Dissertation upon English typographical founders, 1778 (ed.
Carter and Ricks, Oxford, 1961, pp. 76, 77).

13 Flask. Founding: a frame or box used to form a portion of the mould for
casting. (OED.)

14 The process was first described in German, in a manual that also describes
wood-engraving, punchcutting and casting from plaster moulds: Kurtze,
doch nutzliche Anleitung von Form- und Stahl-Schneiden . . . von einem
Freund loblicher Kiinste (Erfurt: Joh. Mich. Funcke, 1740). It became known
in German as abklatschen and in French as clichage.

18 Information kindly supplied by Iain Bain.

16 His hand can more certainly be detected in the frontispiece to the specimen,
a close imitation of the engraving by Thomas Bewick to the design of his
brother John that prefaces Book IV of Somervile’s Chase, printed by
William Bulmer in 1796.

17 A specimen of brass card borders, on an entire new principle, by C. 6? A. Paas
(London, 1788; another edition, 1793). A facsimile of the edition of 1788
was the first publication of the Printing Historical Society, 1965.

[ 12 ]

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A SPECIMEN OF PRINTING TYPES
& VARIOUS ORNAMENTS

1796

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SPECIMEN

PRINTING TYPES

AND

VARIOUS ORNAMENTS

FOR THE

EMBELLISHMENT OF PRESS WORK,

S. & C. STEPHENSON,

BRITISH FOUNDRY,

BREAMS BUILDINGS, CHANCERY LANE .

THE PUNCHES BY RICHARD AUSTIN.

LONDON:

PRINTED BY A. MACPHERSON.

1796.

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BRITISH FOUNDRY.

«>©••<

S.&C. STEPHENSON respectfully
submit the present Edition of tbeir Specimen to the
Public, with the hope that they shall continue to
experience the flattering encouragement hitherto re-
ceived, and for which they beg leave to return their
most sincere thanks.

To those of the Trade who have not hitherto
used the Printing Types of the British Foundry , it
may be necessary to observe, that they are composed
of the very best Metal, and that they arc justified to
paper and body, agreeable to the usual standard .

As the establishment of this Foundry com-
prizes eminent Engravers on IVood and Brass,
orders in either of those branches will be executed
in the best stile of the art.

February 1797 .

•/

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TEN LINES PICA.

EIGHT LINES PICA

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ENGLISH TWO-LINE, ORNAMENTED.

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DOUBLE PICA

PARAGON, DOUBLE PICA BODY.

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tia nostra? quamdiu nos etiam furor istetuus
eludet? quemad finem sese effrenatajactabit
audacia ? nihilne te nocturnum praesidium
palatii, nihil urbis vigilias nihil, timor populi,
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munitissimus habendi senatus locus, nihil
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palatii, nihil urbis vigilice nihil timor populi,
nihil consensus bonorum omnium, nihil hie
munitissimus habendi senatus locus, nihil

1234567890

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PARAGON.

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tia nostra? quamdiu nos etiam furor istetuus
eludet? quemad finem sese effrenatajactabit
audacia? nihilne te nocturnum praesidium
palatii, nihil urbis vigiliae nihil, timor populi,
nihil consensus bonorum omnium, nihil hie
munitissimus habendi senatus locus, nihil
horum ora vultusque moverunt? patere tua
consilianon sentis? constrictamjam omnium

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tia nostra f quamdiu nos etiam furor iste tuus
eludet f quern adjinem sese effrenatajactabit
audacia f nihilne te nocturnum presidium
palatii, nihil urbis vigilice nihil timor populi,
nihil consensus bonorum omnium, nihil hie
munitissimus habendi senatus locus, nihil
horum ora vultusque moverunt ? patere tua

1234567890

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ENGLISH, GREAT PRIMER BODY.

Quousque tandem abutere, Catilina, patien-
tia nostra ? quamdiu nos etiam furor iste tuus
eludet ? quem ad finem sese effrenata jactabit
audacia? nihilne te nocturnum presidium
palatii, nihil urbis vigilise, nihil timor po-
puli, nihil consensus bonorum omnium, ni-
hil hie munitissimus habendi senatus locus
nihil horum ora vultusque moverunt ? pate-
re tua consilia non sentis ? constrictam jam
omnium horum conscientia teneri conjura-

ABCDEFGHIJKLMNOPORS

A BCD EFGH I JKLM NOP QRS

Quousque tandem abutere , Catilina, patientia
nostra ? quamdiu nos etiam furor iste tuus
eludet ? quem ad finem sese effrenata jactabit
audacia ? nihilne te nocturnum preesidium
palatii, nihil urbis vigilice, nihil timor populi,
nihil consensus bonorum omnium, nihil hie
munitissimus habendi senatus locus nihil bo-
rum ora vultusque moverunt ? patere tua
consilia non sentis f constrictam jam omnium
horum conscientia teneri conjurationem tuam

ENGLISH.

Quousque tandem abutere, Catilina, patiefi-
tia nostra ? quamdiu nos etiam furor iste tuus
eludet ? quem ad finem sese effrenata jactabit
audacia? nihilne te nocturnum presidium
palatii, nihil urbis vigiliae, nihil timor po-

E uli, nihil consensus bonorum omnium, ni-
il hie munitissimus habendi senatus locus
nihil horum ora vultusque moverunt ? pate-
re tua consilia non sentis ? constrictam jam
omnium horum conscientia teneri conjura-
tionem tuam non vides ? quid proxima quid
superiore, nocte egeris, ubi fueris, quos con-

ABCDEFGH1JKLMNOPORS

A BCD EFGH I JKLM NOP ORS

Quousque tandem abutere , Catilina, patientia
nostra ? quamdiu nos etiam furor iste tuus
eludet ? quem ad finem sese effrenata jactabit
audacia ? nihilne te nocturnum preesidium
palatii , nihil urbis vigilice , nihil timor populi,
nihil consensus bonorum omnium , nihil hie
munitissimus habendi senatus locus nihil ho-
rum ora vultusque moverunt ? patere tua
consilia non sentis ? constrictam jam omnium
horum conscientia teneri conjurationem tuam
non vides ? quid proxima quid superiore ,
node egeris , ubi fueris , quos convocaveris y

Digitized by Google

PICA, ENGLISH BODY.

Quousque tandem abutere, Catilina, patientia
nostra ? quamdiu nos etiam furor iste tuus elu-
det ? quem ad finem sese effrenata jactabit au-
dacia ? nihilne te nocturnum presidium palatii,
nihil urbis vigiliae, nihil timor populi, nihil
consensus bonorum omnium, nihil hie munitis-
simus habendi senatus locus nihil horum ora
vultusque moverunt ? patere tua consilia non
sentis ? constrictam jam omnium horum con •
scientia teneri conjurationem tuam non vides ?
quid proxima quid superiore, nocte egeris, ubi
fueris, quos convocaveris, quid consilii ceperis,

ABCDEFGHIJK LM NOPQRSTU

A BCDEFGHIJKLMNOPQRST

Quousque tandem abutere, Catilina, patientia nostra ?
quamdiu nos etiam furor iste tuus eludet ? quem ad
finem sese effrenata jactabit audacia ? nibilne te noc-
turnum presidium palatii , nihil urbis vigilice, nihil
timor populi, nihil consensus bonorum omnium, nihil
hie munitissimus habendi senatus locus nihil horum
ora vultusque moverunt f patere tua consilia non
sentis f constrictam jam omnium horum conscientia
teneri conjurationem tuam non vides ? quid proxima
quid superiore , nocte egeris, ubi fueris, quos convo-

PICA.

Quousque tandem abutere, Catilina, patientia
nostra ? quamdiu nos etiam furor iste tuus elu-
det ? quem ad finem sese effrenata jactabit au-
dacia ? nihilne te nocturnum presidium palatii,
nihil urbis vigiliae, nihil timor populi, nihil
consensus bonorum omnium, nihil hie munitis-
simus habendi senatus locus nihil horum ora
vultusque moverunt ? patere tua consilia non
sentis ? constrictam jam omnium horum con
scientia teneri conjurationem tuam non vides ?
quid proxima quid superiore, nocte egeris, ubi
fueris, quos convocaveris, quid consilii ceperis,
quem nostrum ignorare arhitraris ? O tempora,

ABCDEFGHIJK LM NOPQRSTU

ABODE FGHIJKLMNOPQRST

Quousque tandem abutere , Catilina, patientia nostra ?
quamdiu nos etiam furor iste tuus eludet ? quem ad
finem sese effrenata jactabit audacia f nihilne te noc-
turnum presidium palatii, nihil urbis vigilia, nihil
timor populi, nihil consensus bonorum omnium, nihil
hie munitissimus habendi senatus locus nihil horum
ora vultusque moverunt ? patere tua consilia non
sentis ? constrictam jam omnium horum conscientia
teneri conjurationem tuam non vides ? quid proxima
quid superiore, nocte egeris, ubi fueris, quos convo-
caveris, quid consilii ceperis, quem nostrum ignorare

SMALL PICA, PICA BODY.

Quousque tandem abutere, Catilina, patientia nostra?
quamdiu nos etiam furor iste tuus eludet? quem ad
finem sese effrenata jactabit audacia? nihilne te noc-
turnum praesidium palatii, nihil urbis vigiliae, nihil ti-
mor populi, nihil consensus bonorum omnium, nihil
hie munitissimus habendi senatus locus nihil horum
ora vultusque moverunt? patere tua consilia non sen-
tis? constrictam jam omnium horum conscientia teneri
conjurationem tuam non vides ? quid proxima quid
superiore, nocte egeris, ubi fueris, quos convocaveris,
quid consilii ceperis, quem nostrum ignorare a rbitraris ?
O tempora, o mores ! Senatus hoc intelligit, consul

ABCDEFGHIJKLMNOPQRS

ABCDEFGHIJKLMNOPQRST

Quousque tandem abuiere , Catilina , patientia nostra ?
quamdiu nos etiam furor iste tuus eludet ? quem ad fnem
sese effrenata jactabit audacia ? nihilne te noclurnum
presidium palatii, nihil urbis vigilice , nihil timor popu-
li, nihil consensus bonorum omnium , nihil hie munitis-
simus habendi senatus locus , nihil horum ora vultusque
moverunt ? patere tua consilia non sentis ? constrictam
jam omnium horum conscientia teneri conjurationem tuam
non vides? quid proxima quid superiorly nocte egeris,
ubi fueris, quos convocaveris, quid consilii ceperis, quem
nostrum ignorare arbitraris ? O tempora, o mores ! Se-
natus hoc intelligit , consul videt: hie tamen vivit. Vi -

SMALL PICA.

Quousque tandem abutere, Catilina, patientia nostra?
quamdiu nos etiam furor iste tuus eludet ? quem ad
nnem sese effrenata jactabit audacia? nihilne te noc-
turnum presidium palatii, nihil urbis vigiliae, nihil ti-
mor populi, nihil consensus bonorum omnium, nihil
hie munitissimus habendi senatus locus nihil horum
ora vultusque moverunt? patere tua consilia non sen-
ds? constrictam jam omnium horum conscientia teneri
conjurationem tuam non vides ? quid proxima quid
superiore, nocte egeris, ubi fueris, quos convocaveris,
quid consilii ceperis, quem nostrum ignorare arbitraris ?
0 tempora, o mores ! Senatus hoc intelligit, consul
videt : hie tamen vivit. Vivit ? imo vero etiam in
senatum venit : fit publici consilii particeps : notat et
designat ocuiis ad caedem unumquemque nostrum.

ABCDEFGHIJKLMNOPQRS

ABCDEFGHIJKLMNOPQRST

Quousque tandem abutere, Catilina , patientia nostra ?
quamdiu nos etiam furor iste tuus eludet f quem ad finem
sese effrenata jactabit audacia ? nihilne te nocturnum
presidium palatii , nihil urbis vigilite , nihil timor popu-
li , nihil consensus bonorum omnium , nihil hie munitis-
simus habendi senatus locus , nihil horum ora vultusque
moverunt ? patere tua consilia non sentis f constrictam
jam omnium horum conscientia teneri conjurationem tuam
non videsf quid proxima quid superiorly node egeris,
ubi fueris , quos convocaveris , quid consilii ceperis , quem
nostrum ignorare arbitraris ? O tempora , o mores ! Se-
natus hoc intelligit , consul videt: hie tamen vivit. Vivit t
imo vero etiam in senatum venit: ft publici consilii par-
ticeps: notat ct designat ocuiis ad c&dem unumquemque
nostrum . Nos autem viri fortes satisfacere reipublicre vi-

Digitized by Google

LONG PRIMER, SMALL PICA BODY.

Quousque tandem abutere, Catilina, patientia nostra ?
quamdiu nos etiam furor iste tuus eludet? quern ad finem
sese effrenata jactabit audacia? nihilne te nocturnum prae-
sidium palatii, nihil urbis vigilia?, nihil timor populi, nihil
consensus bonorum omnium, nihil hie munitissimus habendi
senatus locus, nihil horum ora vuitusque moverunt? putere
tua consilia non sends ? constrictam jam omnium horum
conscientia teneri conjurationem tuam non vides? quid
proxima quid superiore, nocte egeris, ubi fueris, quos
convocaveris, quid consilii ceperis, quern nostrum ignorare
arbitraris? O tempora, o mores! Senatus hoc intelligit,
consul videt : hie tamen vivit. Vivit ? imo vero etiam in
senatum venit: fit publici consilii particeps: notat et de-
signat oculis ad caedem unumquemque nostrum. Nos au-
tem viri fortes satisfacere reipublicas videmur, si isdus fu-

ABCDEFGHIJKLMNOPQRST

ABCDEFGHIJKLMNOPQRS

Quousque tandem abutere , Catilina, patientia nostra ? quamdiu
nos etiam furor iste tuus eludet ? quern ad finem sese effrenata
jactabit audacia ? nibilne te nocturnum presidium palatii , nibil
urbis vigilicB , nibil timor populi , nibil consensus bonorum
omnium, nibil bic munitissimus babendi senatus locus , nibil
borum ora vuitusque moverunt f patere tua consilia non sentis ?
constrictam jam omnium borum conscientia teneri conjurationem
tuam non vides ? quid proxima quid superiore , nocte egeris ,
ubi fueris, quos convocaveris , quid consilii ceperis, quern nostrum
ignorare arbitraris ? O tempora , o mores ! Senatus boc intelligit,
consul videt : bic tamen vivit. Vivit ? imo vero etiam in
senatum venit : Jit publici consilii particeps : notat et designat
oculis ad ccedem unumquemque nostrum. Nos autem viri for-
tes satisfacere reipublica videmur, si istius furortm ac tela

LONG PRIMER.

Quousque tandem abutere, Catilina, patienda nostra ?
quamdiu nos edam furor iste tuus eiudet? quem ad finem
sese effrenata jactabit audacia? nihilne te nocturnum pra?-
sidium palatii, nihil urbis vigilise, nihil timor populi, nihil
consensus bonorum omnium, nihil hie munitissimus habendi
senatus locus, nihil horum ora vultusque moverunt? patere
tua consilia non sends ? constrictam jam omnium horum
conscientia teneri conjurationem tuam non vides ? quid
proxima quid superiore, nocte egeris, ubi fueris, quos
convocaveris, quid consilii ceperis, quem nostrum ignorare
arbitraris? O tempora, o mores’ Senatus hoc intelligit,
consul videt: hie tamen vivit. Vivit? imo vero etiam in
senatum venit: fit publici consilii particeps: notat et de-
signat oculis ?.d caedem unumquemque nostrum. Nos au-
tem viri fortes sadsfacere reipubliese videmur, si istius fu-
rorem ac tela vitemus. Ad mortem te, Cadlina, duci jussu
consulis jam pridem oportebat : in te conferri pestem istam,

ABCDEFGHIJKLMNOPQRST

ABCDEFGH1JKLMNOPQRS

Quousque tandem abutere , Catilina, patientia nostra ? quamdiu
nos etiam furor iste tuus eiudet ? quem ad Jinem sese effrenata
jadabit audacia ? nibilne te nocturnum presidium palatii , nibil
urbis vigilue , nihil timor populi , nibil consensus bonorum
omnium , nibil bic munitissimus babendi senatus locus , nibil
horum ora vultusque moverunt ? patere tua consilia non sentis ?
constrictam jam omnium borum conscientia teneri conjurationem
tuam non vides ? quid proxima quid superiore , nocte egeris,
ubi fueris , quos convocaveris , quid consilii ceperis , quem nostrum
ignorare arbitraris ? O tempora, o mores ! Senatus hoc intelligit ,
consul videt: bic tamen vivit . Vivit ? imo vero etiam in

senatum venit : fit publici consilii particeps : notat et designat
oculis ad aedem unumquemque nostrum. Nos autem viri for-
tes satisfacere reipublicce videmur , si istius furorem ac tela
vitemus. Ad mortem te, Catilina, duci jussu consulis jam pridem
oportebat : in te conferri pestem istam , quam tu nos omnes

Digitized by Google

BREVIER.

Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos
etiam furor iste tuus eludet ? quern ad finem sese effrenata jactabit au-
dacia ? nihilne te nocturnum presidium palatii, nihil urbis vigiliae,
nihil timor populi, nihil consensus bonorum omnium, nihil hie mu-
nitissimus habendi senatus locus, nihil horum ora vultusque moverunt ?
patere tua consilia non sentis ? constrictam jam omnium horum con-
scientia teneri conjurationem tuam non vides ? quid proxima quid
superiore, nocte egeris, ubi fueris, quos convocaveris, quid consilii

ABCDEFGHIJKLMNOPQRSTUVWXY Z

Quousque tandem abutere, Catilina, patientia nostra ? quamdiu not etiam furor iste
tuus eludet f quem ad finem sese effrenata jactabit audacia f nibilne te nocturnum
prasidium palatii, nibil urbis vigiliee, nibil timor populi, nibil consensus bonorum
omnium, nibil bic munitissimus babendi senatus locus, nibil borum ora vultusque
moverunt f patere tua consilia non sentis t constrictam jam omnium borum con-
scientia teneri conjurationem tuam non vides t quid proxima quid superiore, nocte
egeris , ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum igno-
rare arbitrarts t 0 tempora, o mores ! Senatus hoc intelligit, consul videt : bic

ABC DEFGHIJKLMNOPQRSTU V1V XtZ

BREVIER, BURGEOIS BODY.

Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam
furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia ? ni-
hilne te nocturnum praesidium palatii, nihil urbis vigiliae, nihil timor
populi, nihil consensus bonorum omnium, nihil hie munitissimus ha~
bendi senatus locus, nihil horum ora vultusque moverunt ? patere tua
consilia non sentis? constrictam jam omnium horum conscientia teneri
conjurationem tuam non vides? quid proxima, quid superiore, nocte egeris
ubi fueris, quos convocaveris, quid consilii cepcris, quem nostrum, ig-

ABCDEFGHIJKLMNOPQRSTUWVXYZ

Digitized by Google

MINION.

Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam
furor iste tuus eludet? quem ad linem sese effrenata jactabit audacia? ni-
hilne te nocturnum presidium palatii, nihil urbis vigiliae, nihil timor
populi, nihil consensus bonorum omnium, nihil hie munitissimus ha-
bendi senatus locus, nihil horum ora vultusaue moverunt ? patere tua
consiiia nonsentis? constrictam jam omnium norum conscientia teneri
conjurationem tuam non vides? quid proxima, quid superiore, nocte egeris
ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum, ig-
norare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul vi-
dit: hie tamen vivit. Vivit? imo vero etiam in senatum venit: fit publici
consilii particeps: notat et designat oculis ad caedem unumquemque nos-
trum, Nos autem viri fortes satisfacere reipublicae videmur, si istius
furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consulis jam
pndem oportebat: in te conferri pestem istam, quam tu in nos omnes
jamdiu machinaris. An vero vir amplissimus, P. Scipio, pontifex maxim us,

ABCDEFGHIJKLMNOPQRSTUWXYZ

Digitized by Google

FLOWERS.

TWO LINES PICA.

DOUBLE PICA.

PARAGON.

ENGLISH.

Vi/ XiX XiX Xx^ VrX XaX VjX Xa* XiX VaX Xa* XaX Xa* XjX XtX XrX VaX XtX

PICA.

SMALL PICA.

XXXXXXXXXXXXXXXXXXXXXX

LONG PRIMER. 14

J 5

^jfi^f>jjnuinujnuj i un . m« a *% . m
^r*m ' hlT T W T W^JI^irnilf^3f t Tir^t

% ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ V ^ ^ ^ ^ ^ v V ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

/jv/f\ /j\ <j\ 7|N /|\/|\/|s/]\/]W{\<|v/i\/i\/i\/^ /j\ /|\ /j\ /,% /|\ /f» /\\ /in /j\ /j\ 'N

®m ®m

®:®i®

MIIMIIMIIMlIMIIMIIMlIMilMlIMMMlIMlIMllMliMIIMlIM

Digitized by Google

BREVIER.

3 2

MINION. 34

4 , 4 . 4 . 4 . 4 . 4 . 4 . 4 ^ 4 ^ 4 -^^^^ 4 - 4 -^ 4 - 4 ^ 4 ^ 4 - 4 - 4 - 4 -^^ 4 - 4 -^

*»SMKKHMHHMHMHKHMKHHKKH8KM»H»HK»HHSHSH»

MASONIC JEWELS.

❖ A JL M K X

CHEQUES.

CAST ME TAL

ORNAMENTS.

Digitized by Google

BRASS

-a e eeQ l ^ ^S H^eggc—

i o
1 1

I 2

J S

Digitized by Google

1 6

9§»809(»999(»0§9Q909999999999999aaaa9a.Hi»

^ g^^ ^gllgjCWIWD ^ C*tPig<»ii»aggBr^

2(5

t s -a * sag a ■ g a g V jcts gi> sj

»»>

I TO S | g frP>frNhWa

3 *

Digitized by Google

2<5

Digitized by Google

PRICE LIST :

TYPE LETTER, See.

English and all larger -
Pica -
Small Pica -

Long Primer
Purgeois •

Brevier -

Minion -

Nonpareil -

Pearl - - -

? uotations and Justifies
wo-line Letters -
Open Ditto -
English, two-lines, ornamented
Space Rules -
Script -

Music

Space Lines, 4 to English
■ 4 to Pica

6 to Pica

6 to Small Pica

Black the same as above.
Orientals double ditto.

per lb
I. r. d •
0 I
I
I
I
X
X

'■I

No.i

10
II
ix
II

•I*

19 with Cyphe
to
XI
XX
4 J

Masonic Jewels, per Set

BRASS RULES.

7
1
1

CAST METAL ORNAMENTS.

I. 1. d.

o II

No. t
x

l t. d.
016
1
1
1
1
1
1
1
1
1

BRAS 5 RULES.

No.il

•4

No. 1
x
J
4

II
ix
•J
*4

»9
10
XI
XX
4 J
44

JO
J«

J 4
JJ
34

lit

The Rcmaind

• •

•

•m •

•

m •

a»

« •

• •

•

• •

m «•

m m

• •

m m

m •

• •

m •

• •

• «

m m

m •

•

WINGS ON WOOD.

•

»s

•

0 IS

•

“

•

“

•

Cypher -
dcr at each

ter Cwt. for old Metal

ex-

change.

10/. per Cent. Discount for Ready Money.

Digitized by Google

SALE CATALOGUE OF
THE BRITISH LETTER-FOUNDRY

1797

Digitized by Google

CATALOGUE

THE STOCK IN TRADE

AND ALL THE GENUINE

PUNCHES, MATRICES, MOULDS,

AND OTHER

MATERIALS, TOOLS, and IMPLEMENTS,

OF TIIE

Srtttef) £ttter*;founbt£,

BREAMS-BUILDINGS, CHANCERY-LANE,

LONDON .

HITHERTO CARRIED ON UNDER THE FIRM

S. and C. STEPHENSON,

(The Partnership being dissolved by mutual Agreement ;/

WHICH WILL BE

SOLD BY AUCTION

By Mr. C. HEYDINGER,

AT THE

NAVY COFFEE. HOUSE, NEWCASTLE - STREET*

NEAR THE NEW CHURCH, STRAND,

On Monday Evening, November 27, 1797,

AT SIX O’CLOCK. PRECISELY «.

To be viewed on the Premifea, from Tuefday to Friday pro-
ceeding the Sale ; when Catalogues will be delivered on the
Premifes, at the Place ofSale,&ndby Mr, C. Hbydincir,
Ne, 13, Vlumtrtt-Jlrut , BloemJburj .

Digitized by Google

CONDITIONS OF SALE.

I. THE highefl Bidder to be the Purchafer, and if any
Difpute (hall arife between two or more Bidders,
the Lot in Difpute to be put up again.

II. No Perfon to advance lefs than Six-pence each
Bidding, upon any Lot under One Pound; (the
Letter and other Articles which are fold by W eight
excepted) ; above One Pound, One Shilling; above
Five Pounds, Two Shillings and Six-pence; and fo
in Proportion.

III. Each Purchafer to pay Five Shillings in the Pound
as Earnefl for each Lot, in Part of Payment, and to
give in his Name and Place of Abode, if required.

IV . The unfiniflied Letter to be taken with the Punches,
Matrices, and Moulds, of the fame Fount ; Pica,
and all larger, at Six-pence per Pound ; Small
Pica and Long Primer, at Nine-pence per Pound
Brevier, at One Shilling, and Minion at One Shil-
ling and Six-pence per Pound.

V, The Lots to be taken down, and cleared at the Ex-
oencc of the Purchafer, within Five Davs alter the
Sale, and the Remainder of the Purchafc-Monev to
be paid on or before the Deliver)'; and upon Failure
of complying with the above Conditions, the Depofit-
Money fhall be forfeited, the Lots re-fold by Public
or Private Sale, and the Deficiency, (if any) to be
made good by the Defaulter, together with the Ex-
pence of fuch Re-fale.

tV. B. All Letter-Founders are hereby refpeft fully informed,
that MefTrs. Simon and Charlis Stephenson, as alfo
their Foreman, Mr. Richard Austin, have certified, by
an Affidavit, fworn before the Right Hon. the Lord Mayor,
of London, that no Duplicates of any of the Punches have
been ftruck, except thofe enumerated in the Catalogue.

$3r Gentlemen unable to attend the Sale, may have their Com-
iriffions faithfully executed, by their humble Servant,

C. HEYDINGER.

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AVERTISSEMENT.

Les Poin^ons, Matrices, Moules, & tous les autres
Inftrumens & Outils, de la Fonderie de Lettres de Mefrs.
S. & C. Stephenson, a Londrcs, dont le Catalogue &
les Epreuves & Echantillons des Lettres & Ornemens
typographiques font ci-jointes, feront mis en Vente, au
plus offrant & dernier Encheriffeur, en differents Lots,
fuivant le Catalogue, lc 27* Novembre prochain.

•

Les Fondeurs de Lettres ou Imprimeurs etrangers, qui
fouhaiteroicnt d’acquerir foit lc Tout enfemble, foit les
Poisons, Matrices & Moules de quelque Cara&ere par-
ticular, ou autres Inftrumens ou Lots, fpecifie dans le Ca-
talogue, font pric d’envoyer leurs Commiflions, fpecifiant
le plus haut prix offrant pour chaque Lot, le plus-tot pof-
fible, ou a leurs Amis, ou au Courtier de cette Vente,
M. C. Heydinger,A0. 13, Plumtree Street , Bloomsbury ,
uLondres; & d’y affigner quelque bonne Maifon de
Commerce qui repond pour le Payement.

Pour donner une Idee de la Valeur & des Depenfes
originales a Londres, des Poin^ons, Matrices, &c. des dif-
ferents Carafteres, on joint ici le prix original du Cara&ere
de Cicero (Pica) contenu dans cette Vente. Savoir :

£• s. d. £. s. d.

225 Poin^ons, a o 3 6 font 39 76

304 Matrices, a 036 53 4 o

8 Moules, a 4 4 o 33 12 o

Total £ 1*6 3 6 Stcri,

Digitized by Google

Les Poin9onj & Moules du Caraftere de petit Texte
( Brevier ) & plus petits coutent plus; mais les Matrices
font approchant du meme prix.

Pour Interpretation des Termes & Noms techniques
de diffcrens Carafteres, Inftrumens & Outils, on recom-
mande 1 c Dittionnaire Fran^is-Anglois, & Anglois,
Fran9ois, par A. Boyer, 2 Vol. 4U). Edition de Lyon.
1780.

A Linares , le 26*. Sept entire, 1797.

Digitized by Google

CATALOGUE, Wc.

UPPER CASTING-ROOM.

Lot

1 Six New Furnaces, without Pans and Blowers

2 A Forge fixed, with Bellows, three Hammers, a Poker,

and Two Pair of Tongs

3 An Anvil, weighing about 138 lb.

4 A large flrong Table, 6 Feet 6 Inches by 3 Feet 6

Inches, with Four Range Stick-Rack
^ A Drefier’s Bench, 1 1 Feet by 3 Feet 6 Inches, with
Two Drawers and Platform

6 A Moulding-Trough, for Sand calling, with Four

Pair of Flafks, Four Calling-Boards and a Screw
Prefs

7 Eight Pair of New Cafes

8 Seven Pair of Ditto

9 Nine New Letter-Bafkets

10 A fmall Grindflone and Trough

11 Nine old Stools, fundry Boards, about Two Dozen of

Scaleboards, and an old upper Cafe

1 2 An Iron-Pot, and Six Iron-Cand!efticks

13 A new fmall Printing- Prefs, complete, with Bank,

Horfe, One Frifket, and Two Iroq-Candleflicks

I.ot

LOWER CASTING-ROOM.

14 Eight Furnaces, with Pans, Blowers, Tables, and

Drawers

15 A Drefler’s Bench, about 13 Feet by 2 Feet, with

One Drawer, Lock and Key, and Shelf under it

16 A Ditto, 9 Feet by 2 Feet, and 2 y Inches thick, with

Shelving under and over it

17 Three Bulks

18 A Ditto, 11 Feet by 1 Foot 9 Inches, and Cupboards.

with Doors

19 A Ditto, 4 Feet by 2 Feet 8 Inches, with a Drawer

20 A Nefl of Drawers, with 25 Drawers

2 1 Three Stick-Racks

22 A Drefiing-Bed, with Wedges, and Three Blocks,

viz. Two Lines Pica, Double Pica, and Great
Primer, and One Pair of Paragon, Four Pair of
Great Primer, and Two Pair of Quadrat Drefling
Sticks; Two Planes, and Two Drelling- Knives

23 A New Drefling-Bed, with Screw, and Three Blocks,

viz . Double Pica, Englifli, and Pica, and One
Pair of Englilh, One Pair of Pica, and Three Pair
of Small Pica Drefling-Sticks; Two Planes, and
Two Drefiing-Knives

24 A Ditto, with Three Blocks, viz. Pica, Long Primer,

and Minion, and Three Pair of Small Pica, Three
Pair of Long Primer, and Two Pair of Minion
Drefling-Sticks ; Three Planes, Three Plane-Irons,
and Two Drefling-Knives

2,5 A Ditto, with Four Blocks, viz. Pica, Long Primer,
Brevier, and Minion, and Three Pair of Long
Primer, Three Pair of Brevier, and One Pair of
Minion Drefling-Sticks; Three Planes, Three
Plane-Irons, and Two Drefling-Knives

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Lrr

26 Seven Dozen of Setting-up Sticks

27 Seven Dozen of Ditto

28 Four Brafs Bodying, and Three Brafs Lining Sticks

29 Three Iron Bodying, Eight Iron Lining Sticks, and

Five Standards

30 Three Rubbing-Stones, and Three Files

31 Eleven Ladle-Beds, and Punches, to form Ladles

32 Two Mahogany and Three Wainfcot Galleys

33 ThreeCafting Pans, Three Pokers, One Shovel, Twelve

Candlefticks, Three Pair of Snuffers, and One
Skimmer

34 Three Patent Lamps, Five new Tin Lamps, One

Gallon Oil-Can, One Pint Ditto, and a Tin Oil-
Receiver

35 Fourteen Tin and Two Glafs-Lamps

36 A Pair of large Copper-Scales, with $6 Pounds, Iron

Weights

37 A Pair of Small Ditto, with 4 Pounds, 15 Ounces,

Brafs Weights

38 Two Iron-Pots, Two Shovels, a Wire-Sieve, and a

Wooden-Pail

39 A ftrong Stone-Clofet, with Iron-Shelves, Iron-

Door, Lock and Key

40 Two Mallets, an Oil-ftone, an Oil-Pot, an Ink-Stand,

and a Slate

41 A Porter’s Knot, and a Step-Ladder

ACCOMPTING-HOUSE.

42 A Work-Bench, 13 Feet by 18 Inches, and 2 Inches

Thick, with Two Drawers, Two Locks, and One
Key

43 A Ditto, 7 Feet by 16 Inches, Two Drawers, One

Lock and Key

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Lot

44 A Wainfcot-Defk, on a Stand, Stool, and Foot-Board

45 A Nefl of Thirty Drawers, complete, with Brafs

Numbers, Doors, Lock and Key

46 A Neft of Pigeon-holes with Partitions

47 A Furnace, with Pan and Poker, a Skimmer, and a

Ladle

48 Sundry rough-forged Parts of Moulds

49 A Caft-Iron Stake

50 A fmall Stake, faced with Steel

51 Six Iron Compofing-Sticks

52 Six Boxes, with Sliding Covers

53 Six Ditto

54 Six Ditto

55 Four Ditto

56 Ten Brafs Marking-Inftruments

57 Fifty Cafting-Ladics various Sizes

58 Fifty Ditto Ditto

59 Sixty Ditto Ditto

60 A Standing-Vice, and about Sixty Tools, various,

marked No. 1.

61 A Ditto, marked No. 2.

62 Two Chairs, a Branch-Candleftick, Six Brufhes,

an Ink-Stand, Sand-Box, and a Slate

63 AHand-Vice, a Pair of Pliers, Dividers, a Hand-Saw,

and Two Magnifiers

64 The Partitions of the Accompting-Houfe, with Door,

Lock, and Key

METAL-ROOM.

65 An exceeding ftrong Neft of Letter- Clofets, and

Shelves

66 A long Bulk, 7 Feet 4 Inches by 15 Inches, and a

Deal-Table, with a Drawer

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Lot

67 A Polifning-Lathe, with a Saw

68 A Pair of large Scales, with 112 Pounds, Iron

Weights

69 Fourteen Pelts, and Four Prefs-Blankets

70 An old Skreen
*70 A fmall Truck

KITCHEN.

71 A Call-Iron Melting-Pot, Two Shovels, a Ladle, and

a Skimmer

72 One Dozen of Call-Iron Ingots

73 One Dozen of Ditto

PUNCHES, MATRICES, and MOULDS.

74 Cannon, Roman, 102 Punches, 10 Matrices, and 1

Mould not quite finilhed

75 Two line Englilh ornamented Letters, 34 Punches

41 Matrices, and 1 Mould

76 Two line Brevier, 7 Matrices for Spaces and Quad-

rats, and 1 Mould

77 Double Pica, Rom. and Ital. 185 Punches, 188 Ma-

trices and 4 Moulds

78 Paragon, Rom. and Ital. 238 Punches, 337 Matrices

and 5 Moulds

79 Englifh, Rom. and Ital. 256 Punches, 302 Matrices

and 9 Moulds

80 Pica, Rom. and Ital. 225 Punches, 304 Matrices, and

8 Moulds

81 Small Pica, Rom. and Ital. 185 Punches, 20,5 Matri-

ces, and 8 Moulds

82 Long Primer, Rom. and Ital. 236 Punches, 306 Ma-

trices and 1 1 Moulds

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Lot

83 Brevier, Rom. and Ital. 241 Punches, 26 6 Matrices

and 6 Moulds

84 Brevier Roman and Italic, 266 Matrices in the rough,

ftruck from the foregoing Punches, but not yet
juftified to any Body

85 Flowers, as per Specimen, No. 1 — 11, Seven Pun-

ches and 10 Matrices

86 Do. as per Do. No. 12 — 24, Seven Punches and 11

Matrices

87 Do. as per Do. No. 25 — 36, Eleven Punches and 15

Matrices

88 Mafonic Jewels and Checks, 8 Punches and 9 Matri-

ces

89 Various Letters and Flowers, 19 Punches 61 Matrices

90 Four One Nick Minion Moulds

91 One Quotation Mould and Matrice

92 One Two line Double Pica Mould

93 One Two line Pica Mould and 2 Matrices for Spaces

aud Quadrats

94 One Great Primer Mould

95 One Burgeois Mould

96 Three Moulds to call Leads, and a Machine to cut

them to lengths

97 All the Punches and Matrices of the Call Metal Orna-

ments (excepting thofe marked in the Specimen
No. 12, 15, 20) together with the whole Appara-
tus, confifting of a Fly-prefs and various other Im-
plements, and the Inftru&ion in the Art of making
them *

* The Purchafer of this Lot will not be permitted to examine any
Part thereof, until the Purchafe Money is paid.

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COMPLETE FOUNTS of LETTER.

Lot At per Pound

98 Two lines Englilh Ornamented about 83

99 Two lines Engliih, Open 4

100 One Nick Double Pica, Roman 400

101 Paragon, Rom. and Ital. 189

X02 Do. Do. 300

103 Do. Do. 250

104 Do. Roman Capitals 9

105 Two Nick Engliih, Rom. and Ital. 350

106 Three Nick Pica, Do. Do. 75

107 One Nick Pica, Do. Do. 200

108 Pica Braces 25

109 One Nick Small Pica, Rom. and Ital. 85

110 One Nick Small Pica, Roman 155

111 Two Nick Long Primer, Roman 50

112 Long Primer, Rom. and Ital. 1 20

1 1 3 Long Primer, Braces, Metal Rules, Middles and Cor-

ners 14

114 Brevier, Rom. and Ital. 120

117 Do. Do. 120

116 Flowers, No. 1, 2, 4, 5, 6, 7,8, 9, 10, 75

117 Do. No. 12, 16,17, 18, 19, 24. 30

118 Do. No. 25, 26, 28, 29, 32, 33, 35. 50

1 19 Mafonic Jewels and Checks 20

120 Metal, at per C. wt.

121 Thirty- five Brafs Ornamental Rules,

122 Four New Wood Cuts, viz, No. 1, 2, 3, 4.

123 Four Do. No. 9, 10,23,24.

124 Four Do. No. 25, 26, 27, 28.

1 25 Five Do. No. 29, 30, 31, 33, 34.

126 Six Do. No. 36, 37, 38, 39, 40, 41.

127 Six Do. No. 42, 43, 44,45, 46, 47.

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L»t

128 Three Doz. New whole length Brafs Rules, 4 to
Long Primer

$29 One Doz. Do. 6 to Long Primer

130 One Doz. Do. 7 to Pica

131 Five Doz. Do. 5 to Pica

132 Five Doz. Do. 5 to Pica
132 Five Doz. Do. 5 to Pica

134 One Doz. Do. various, and 3 Whole length Double

Rules

135 Sundry old Boxes, Boards, &c.

Unfinished; or, Incomplete Letter, to be taken with
the Punches, Matrices and Moulds of each Font, as

per Conditions of Sale.

Two line Englilh Ornamented

about 36

Double Pica, Rom. and Italic

Englifh, Do.

500

Long Primer, Do.

300

Brevier, Do.

3*0

Minion, Do.

735

FINIS.

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UNIVERSITY Of MICHIGAN

3 9015 02515 3183

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Full text of "A specimen of printing types & various ornaments, 1796 : reproduced, together with the sale catalogue of the British Letter-Foundry, 1797"

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